Portrait of Basil Blackshaw

The 13 Most Famous Basil Blackshaw Paintings, Each One of a Kind

Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 13 works by Basil Blackshaw in our catalogue

In short

Seated Man (CD) (Portrait of Cecil Dunbar) (1990) is the Basil Blackshaw painting that draws the most eyes; the original belongs to the Royal Ulster Academy, Belfast. After it, the eye goes to The Patient's Flower and Professor John Henry McKnight Pinkerton (b.1920). Among the 13 works of Basil Blackshaw in our catalog, these 13 are the most famous, each a unique original presented with its year, its museum and the reason it endures.

1932 – 2016 Most works: Queen's University

Top 10 paintings by Basil Blackshaw, through the gallery's eye

Basil Blackshaw's famous paintings, numbers 11 to 13

The subjects that held Basil Blackshaw's eye

The four subjects that come back most often in these originals, each with its finest example.

The museums that keep Basil Blackshaw's originals

The 4 museums that hold the most of the paintings on this page.

Museum City Works by Basil Blackshaw Paintings from this list
Queen's University, BelfastQueen's University Belfast 3 The Patient's Flower, Professor John Henry McKnight Pinkerton (b.1920), Professor Sir David Bates (1916–1994)
Royal Ulster Academy, BelfastRoyal Ulster Academy Belfast 1 Seated Man (CD) (Portrait of Cecil Dunbar)
Northern Ireland Civil Service, BelfastNorthern Ireland Civil Service Belfast 1 Lough Neagh, Winter
Irish Linen Centre - Lisburn Museum, Lisburn CityIrish Linen Centre - Lisburn Museum Lisburn City 1 Divis Mountain

Basil Blackshaw across the years: the unique originals of each

12 years separate Basil Blackshaw's first and last dated originals shown here, 1990 and 2001: each year has its place below.

Works per year

Pick a year to see its originals.

Basil Blackshaw's paintings: questions for the gallery

What is the single most famous work of Basil Blackshaw?Reveal the answer

Seated Man (CD) (Portrait of Cecil Dunbar) (1990), Royal Ulster Academy, Belfast. The Patient's Flower and Professor John Henry McKnight Pinkerton (b.1920) come next.

At what age did Basil Blackshaw create Seated Man (CD) (Portrait of Cecil Dunbar)?Reveal the answer

58 years old: Seated Man (CD) (Portrait of Cecil Dunbar) dates from 1990, and Basil Blackshaw was born in 1932.

Which ten paintings by Basil Blackshaw are the most famous?Reveal the answer

Seated Man (CD) (Portrait of Cecil Dunbar), The Patient's Flower, Professor John Henry McKnight Pinkerton (b.1920), The Barn (Blue II), First Tractor in Randalstown, Lough Neagh, Winter, Two Trees, Black Mountain, Road to Clough and Two Horses Exercising. The ranking above gives each one's year and museum.

How many works by Basil Blackshaw are known?Reveal the answer

Our catalog holds 13 works by Basil Blackshaw, dated from 1990 to 2001.

Where can the most famous Basil Blackshaw originals be seen?Reveal the answer

Mostly in Queen's University (Belfast), Royal Ulster Academy (Belfast) and Northern Ireland Civil Service (Belfast). The museum table above lists them all.

Which famous Basil Blackshaw painting is the earliest, and which the latest?Reveal the answer

On this page, the earliest is Seated Man (CD) (Portrait of Cecil Dunbar) (1990) and the latest First Tractor in Randalstown (2001).

What Basil Blackshaw originals can I see at the Queen's University?Reveal the answer

The Patient's Flower, Professor John Henry McKnight Pinkerton (b.1920) and Professor Sir David Bates (1916–1994): the Queen's University, Belfast holds 3 of the works on this page.

Basil Blackshaw: a portrait of the artist

Basil Blackshaw: A Northern Irish Visionary of Rural Life and Animal Soul

Born in Glengormley, County Antrim, in 1932, Basil Joseph Blackshaw emerged as a distinctive voice within the landscape of Northern Irish art. His life was inextricably linked to the rugged beauty of his homeland – the rolling hills, the evocative grey skies, and the enduring spirit of its people and animals. Raised on a farm near Boardmills in Lisburn, County Down, Blackshaw’s early years instilled in him a profound connection to the land and a deep appreciation for the rhythms of rural life. This formative experience would profoundly shape his artistic vision, informing his paintings with an honesty and intimacy rarely found in contemporary art.

Blackshaw's formal training began at Methodist College Belfast, where he demonstrated early talent, leading to a scholarship at the Belfast College of Art in 1948. Under the guidance of Romeo Toogood, a respected landscape artist, Blackshaw honed his skills and developed a distinctive style characterized by loose brushwork, vibrant color palettes, and a palpable sense of atmosphere. Crucially, he also benefited from exposure to the work of European masters like Paul Cézanne, whose emphasis on structure and observation profoundly influenced Blackshaw’s approach to composition and form. His time in Paris further solidified these influences, shaping his artistic sensibilities and providing him with a broader perspective on art history.

The Palette of Place: Themes and Techniques

Blackshaw's oeuvre is dominated by three primary subjects: landscapes, portraits, and depictions of animals – particularly horses and greyhounds. These recurring motifs are not merely decorative; they represent a deep engagement with the essence of Northern Ireland. His landscapes aren’t simply representations of scenery; they are imbued with emotion, capturing the mood and character of the region's wild beauty. The muted tones of his early works—often dominated by blues and greys—reflect the often-dramatic weather conditions prevalent in Ulster, while later paintings embraced bolder colors, reflecting a growing confidence and experimentation.

Blackshaw’s technique is instantly recognizable. He employed a distinctive gestural approach, applying paint with rapid, expressive strokes that conveyed movement and energy. His use of impasto—thickly applied paint—created a tactile surface, inviting the viewer to engage physically with the artwork. He was particularly adept at capturing the texture of fur, feathers, and skin, imbuing his animal subjects with a remarkable sense of life. Portraits, too, were rendered with a similar sensitivity, revealing not just physical likeness but also the inner character of his sitters.

Influences and Artistic Evolution

Blackshaw’s artistic development was shaped by a diverse range of influences. Beyond Cézanne, he admired the work of J.M.W. Turner, whose atmospheric landscapes served as a model for Blackshaw's own approach to capturing light and mood. The expressive brushwork of Oskar Kokoschka also resonated with him, contributing to his willingness to embrace spontaneity and emotional intensity in his paintings. Furthermore, his exposure to the work of Irish artists like Alan Reynolds provided him with a deeper understanding of the landscape of Ireland.

Throughout his career, Blackshaw’s style evolved organically. Initially influenced by traditional academic techniques, he gradually developed a more personal and expressive approach. His later works are characterized by looser brushwork, bolder colors, and a greater emphasis on capturing the emotional essence of his subjects. This evolution reflects not only his artistic growth but also his deepening engagement with the complexities of Northern Irish identity.

Recognition and Legacy

Basil Blackshaw’s work gained increasing recognition throughout his career, culminating in numerous exhibitions across Ireland and abroad. He was elected an Academician of the Royal Ulster Academy (RUA) and a member of Aosdána, Ireland's highest artistic honor. His paintings are held in prominent collections, including those of the Irish Museum of Modern Art, the Ulster Museum, and Trinity College Dublin.

Blackshaw’s legacy extends beyond his individual achievements. He is remembered as a pioneering artist who captured the spirit of Northern Ireland with honesty, sensitivity, and profound insight. His paintings offer a powerful testament to the beauty and resilience of the region's landscape and its people, solidifying his place as one of the most important figures in contemporary Irish art. His work continues to resonate with viewers today, inviting them to contemplate the enduring power of place and the timeless appeal of the natural world.